jules massenet french composer (17 risultati)

Soft cover. Condizione: Very Good. 1st Edition. Paperback. Folio. (33 x 24 cm). In French. [3], [1] p. With a fine decorative and illustrative borders in Art-Nouveau style. Jules Émile Frédéric Massenet was a French composer of the Romantic era best known for his operas, of which he wrote more than thirty. The two most frequently staged are Manon (1884) and Werther (1892). He also composed oratorios, ballets, orchestral works, incidental music, piano pieces, songs and other music. J. D. Andria is one of the best known music publishers among the Ottoman Empire mionrities. According to he documents in hand, it can be estimated that he began musical score publication in the year of 1904. Andria dealt with music publication at the address of Beyoglu, Istiklal Street (Near Agha Mosque) at 68 no. Andria also published four pieces of Turkish marche parties for piano as far as we know; besides his big sized west music works, which were published in general by him. Donizetti's 'Marche' is one of them as well besides Halit Recep Arman's, Milok's, and Orente's ones. It is known when publishing life of Andria ended. (Source: Musical publications from Ottoman Empire up today, 1876-1986.; BÜLENT ALANER).

Pas de couverture. Condizione: Assez bon. Autograph letter signed. Brussels, 1881. + Photo 23x15 cm (recent print). Size : 18x11.5 cm. Condition : please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

(Paris ), n.d. Calling card with printed name "J. Massenet" and address "38, rue du Général Foy". To an unnamed recipient: "Vos très charmants félicitations me causent un vrai plaisir - vous pensez à moi et je vous en remercie tant!!" - Glue marks on verso. AUTOGRAPHS ; MUSIC ;

3pp, 12mo. Bifolium. On aged paper, with punch hole through both leaves at head, small closed cut along bottom edge of first leaf, and with paper and part of another letter (from an album) glued onto the reverse of the second leaf. Folded once. The signature 'M. Massenet' is explained in Massenet's obituary in the Musical Times, 1 September 1912, which speaks of 'the composer's known antipathy to the name Jules [ ] He preferred to be called "M. Massenet" simply'. The recipient of this enthusiastic letter is not named. The letter appears to have been written to a man who has sent a portrait of his wife (the Swedish soprano Sigrid Arnoldson-Fischhof) to Massenet. It begins: 'Cher ami, | Le portrait est admirable et si ressemblant! | L'attention est exquise!' He continues with a reference to 'votre "merveille" de femme', and then writes: 'Nous sommes en voyage, Mlle. Massenet & moi, et je vais écrire à notre grand ami Hengel.' He ends with a message for 'Mme Arnoldson'.

Oblong 8vo. 1 page. Hastily written note to a friend regarding performance preparations, setting the date for the orchestra rehearsal, expressing his satisfaction with a text project, and mentioning Massenet's wife being ravished by the recipient's compliments: "Mi demain aura l'épreuve corrigée aujourd'hui d'orchestre. Le projet de texte ci-joint est parfait [.] Ma femme est absolument ravie à vos souvenir [.]".

8vo. 2 pp. on bifolium. A letter of thanks to a friend, with an invitation in answer to the recipient's attentiveness concerning a performance of Massenet's opera "Le Cid" which premiered in 1885 and would continue to be revived by the Paris Opera until 1919: "Vous savez toujours trouver le chemin de nos coeurs, à ma femme et à moi - et je tiens, encore cette fois, vous recevoir en bon moment au mieux pour votre nouvelle attentions au sujet du 'Cid' [.]".

12mo. 1 p. With autograph address. Poetic New Year wishes for the French soprano Fidès Adler-Devriès (1851-1941): "1912. Comment ma première pensée ne serait-elle pas sur cous, au début de chaque année?! - Votre souvenir / reste pour moi / une gloire unique!" - Born in New Orléans to the Dutch soprano Rosa de Vries-van Os, Fidès Adler-Devriès studied under Gilbert Duprez and made her debut in Fromental Halévy's "Le val d'Andorre" at the Théâtre Lyrique in Paris in October 1868 and joined the Paris Opéra in 1871. For Jules Massenet she created the female lead Chimène in the premiere of "Le Cid" at the Paris Opéra on 30 November 1885. Her final major appearance was as Elsa in the French premiere of Lohengrin on 3 May 1887, before retiring from the stage in 1889. Jules Massenet held the soprano in high esteem, of which this letter gives charming evidence. - Well preserved with marks in crayon and some stains to the address side.

Oblong 8vo. 3 pp. on bifolium. To an ambassador, requesting a favour for the singer Sibyl Sanderson, Massenet's inspiration for his opera "Esclarmonde". Sanderson wishes that her boxes of costumes not be opened at the Belgian border: "Il s'agit d'obtenir un mot de protection afin que ses Caisses de Costumes ne soient pas ouvertes à la douane belge. La créatrice d' 'Esclarmonde' doit se rendre à Bruxelles dans quelques jours [.]".

Small octavo, one page (verso blank, with a conjugate blank); no year or address given, but 'En hate . le 19 Nov .'). Folded once across the centre; in excellent condition, with the signature large, bold and underlined. One of the curiosities of Massenet is that he habitually signed with M., rather than his given name or initial. Massenet has come back into fashion and is more performed now than in the late twentieth century. Provenance: Collection of The Hon Barry Jones AC.

8vo. 1 p. on bifolium. Highly interesting note written less than two months before Massenet's death on 13 August 1912, concerning the premiere of his final opera "Roma" at the Opéra de Vichy in July 1912 and other projects for the summer. Massenet obviously dreaded "ending his repose" and having "48 insanely busy hours" of "work at the theatre in Vichy (Roma)". Massenet also mentions a performance of his 1907 opera "Thérèse" at the Casino d'Enghien (Enghien-les-Bains) with the bass-baritone Hector Dufranne and his protégé, the young mezzo-soprano Lucy Arbell, for the day that he wrote the note and an orchestra performance of "Thaïs" and of "Don Quichotte" the following day. In closing, Massenet remarks wearily: "It does not matter! My thoughts are with the two incomparable friends" - a remark which appears to point to recent losses. - On 4 July 1912 Massenet conducted "Roma" at the Opéra de Vichy. It was his final premiere. - Very slight foxing.

136 x 88 mm. With traces of former mounting (verso). Beautiful picture postcard with the composer's signature. - Gilt borders.

Small 8vo. 3 pp. on bifolium. To the soprano Fidès Devriès (1852-1941), announcing the completion of his opera "El Cid" and that she will receive her score within two days, delivered by the composer personally. Massenet explains a delay in his work with sickness and the departure of his publisher and original librettist Georges Hartmann: "Je ne sais si cette lettre your parviendra à Paris ou à Deauville mais je tiens à vous dire, Madame, que je vous ferai parvenir la partition complètement exacte au plus tard le 1er août. J'ai eu beaucoup de travail pour les corrections des épreuves et la maladie, le départ de Hartmann sont aussi un peu causes du retard. Mais tout sera en ordre. J'ai hâté d'aller vous voir à Deauville et de vous entendre!!!". - In an insertion, Massenet explains that he will rent a Villa in Houlgate in August and that he will drive his "little car, Le Cid under the arm" to nearby Deauville, where Devrès apparently spent her summer: "nous avons loué une Villa à Houlgate ma femme et ma fille y passeront les mois d'août y de septembre peut-être aussi - de là, avec ma petite voiture, le Cid sous le bras, j'irai à Deauville pour les moments d'étude que vous voudrez bien m'indiquer". - Massenet's "Le Cid" successfully premiered on 30 November 1885 at the Paris Opéra with Fidès Devriès as the female lead. - Some foxing and somewhat creased.

Folio. 2 pp. On staff paper, a few tiny chips to edges, matted and framed with portrait. Quotation from the opera Thaïs, headed "andante cantabile.".

8vo. Together 10 pp. on 6 bifolia and 3 single sheets. To the cellist and conductor Achille Kerrion (1868-1939) with thanks, regards and congratulations to him and the whole orchestra, as well as praise for his sister, the singer Stéphanie Kerrion: "Votre lettre me trouve à Paris, que je travers & de suite, je vous exprime ma parfaite gratitude & toutes mes chaleureuses amitiés! Votre soeur est une très remarquable artiste que [!] c'est avec reconnaissance que je la remercie! à tous les musiciens de l'orchestre mes plus amicables félicitations [.]" (Paris, 15 Oct. 1896). - To Antonin Périvier (1847-1924), director of the literary periodical "Gil Blas", suggesting his friend, Ernest Laroche from Bordeaux, for a position at the journal: "Cher grand ami, plus d'une sollicitation vous parviendra au sujet de votre nouveau journal! Passez à un homme très précieux: mon ami Ernest Laroche, de Bordeaux; il peut remplir un poste absolument utile et devenir un collaborateur tout à fait nécessaire [.]" (Paris, 6 Nov. 1902). - To a friend about writing to the influential music journal "Le Ménestrel", and with congratulations for his performance in his opera "Thaïs", which premiered in 1894: "Cher ami merci! J'écris au Ménestrel, allez y je vous en prie demain lundi. Très à vous & félicitations à votre diction [?] de Thais [.]" (Égreville, 22 Aug., no year). - To a friend with congratulations on his success, hoping it will last for a long time: "Je suis enchanté de vous savoir satisfait et je n'ai que à vous souhaiter la continuation de vos succès! [.]" (Paris, January 1890). - Hoping that a reunion will not take place as long as he is out of town: "Pourra que la réunion n'ait pas lieu pendant que je serai absent & loin! [.]" (no place, 11 Aug. 1900). - Setting the date and time for a visit: "Je vous attendrai chez moi (46 rue du Général Foy) le Lundi 30 avril à 9h ¼ précise du matin [.]" ([Paris], 21 April, no year). - The visiting cards send regards and congratulations, and express his disappointment at an answer from Kerrion. - All but 2 letters with strips of paper mounted on verso.

(Oblong) 8vo. 31 pp. on 19 ff. Notes on professional matters as well as on daily life, some letters containing tender regards to a beloved person or family member, all rich in content, as common for Massenet's correspondence. - Some days after the Paris premiere of his opera "Hérodiade", Massenet journeys to and from work in a closed car due to poor weather, mentioning strains in connection with rehearsals and productions: "Quel vent tu dois avoir à Égreville ? car, ici, je vois se tordre à se briser les arbres du Luxembourg. Les cheminées gémissent comme M. Hardi lui-même! J'ai une voiture fermée qui me conduit au théâtre et me ramène [.] Mlle Calvé a répété [.] Scène avec Henri Cain . rencontré par hasard, il a une pièce en répétition! Cela a troublé notre Salomé . Hélas, hélas! [.]" (1903). - About the opera singer Emma Calvé, the return of a sum of 5,000 francs to the bank, and fittings for his opera "Marie-Magdeleine": "Emma était liée hier soir, exactement [.] Les 5,000 francs (Derville, Cain) seront remis par moi aujourd'hui au comptoir d'escompte [.] J'ai conférence pour les décors de M-Magdaleine [.] Je t'embrasse tendrement [.]" (1903). - A letter from Milan describes the first night of the opera "Thais", looks forward to a prolonged holiday for the recipient, and mentions the opera "Hérodiade", which soon to start in Paris, although the hall is not yet ready: "C'est ce soir la 1ère de Thais [.] Vive Seminarius!! car, l'été prochain nous jouissons des bienfaits de ton séjour prolongé. Hérodiade passe bientôt à Paris [.]" (1903). - About having to wait a long time for a reply from the composer Louise Filliaux-Tiger, felt as an insiult by Massenet; further on his opera "Werther", the incompetence of a M. Sanguy, and the great success of "Manon": "Je n'ai pas de réponse encore de Madame Filliaux-Tiger??? [.] M. Sanguy me semble un incapable [.] Manon a fait hier soir 7.100; très belle et chaude représentation. Bonne Manon, va! [.]" (1903). - About an extremely hot summer, open-top car driving at night, no dust in the house, no insects in the curtains, strongly praising all the addressee's work in Égreville: "J'ai eu une léger courant d'air, capotte baissée ! La maison et toujours sans poussière [.] L'été est une 'calamité' dont on parle partout [.]" (summer 1904). - A short arrival note: "Bien arrivé - très triste mais très courageux. Je t'embrasse si tendrement [.]" (August 1904). - Victor and Félicie, the singer Emma Calvé, and the writer and music critic Hugues Imbert (1842-1905), whose help Massenet urgently requires, will stay in Égreville: "À propos de M. Imbert dont les secours me seront de plus urgente [.]" (16 Aug. 1908 or 1909). - A letter from Trouville with a compliment by Engelbert-Marie d'Arenberg (1872-1949) for Mme. Massenet's tasteful arrangement of the house and garden at Égreville: "Le prince d'Arenberg m'a dit hier, à l'Institut, à quelle intéressante propriété vous avez à Egreville [.]". - To a "bon cheri" with a question about dirty linen and shirts, the need for a yellow suitcase containing Massenet's manuscripts of "Chérubin", mentioning Massenet's son-in-law Léon Bessand (1859-1943), and longing for the addressee's company: "Mon bon cheri, j'ai à demander si je dois rapporter tout le linge sale? [.] Comme je suis triste [.] Je te voudrais là tout près! [.]" (Paris, 1904). - On a meeting with the opera director Raoul Gunsbourg at the publishing house "Ménestrel" before a dinner at Chevalier's: "Avant le diner, au Ménestrel, Gunsbourg et moi nous avons parlé (devant Chevalier) [.] Gunsbourg évoquait que les collaborations avaient accepté [.]". - With a report from Égreville on a marvellous state of a "castle", the pewter is shiny, dust only a myth: "J'ai trouvé le château en superbe état [.] la poussière est un mythe! [.]". - About a reply to his daughter Juliette (1868-1935), sending an autograph, and visits to St Lunaire and St Malo. Apart from a slight, colic everything is fine: "J'ai répondu à Juliette qui simplement désirait un autographe [.] sauf quelques colliques tout va bien [.]". - Three letters with markings in blue pencil. All letters with collector's notes in pencil, mostly dating the autographs. Two letters have Massenet's signature in the form of a cloud-shaped flourish.

8vo and 12mo. Altogether 20 pp. on bifolia and one single leaf. With 8 autograph envelopes. In French. A series of letters written to his daughter Juliette (1868-1935) and her husband Léon Alloend-Bessand. Massenet was travelling extensively in 1890 and spent several months in Bruxelles, probably for the reprise of his opera "Esclarmonde" in September 1890 at La Monnaie, with Sibyl Sanderson. While it was rumoured that Massenet had an affair with Sanderson and the American soprano does indeed play a role in his letters, the correspondence also bears witness to Massenet's profound longing for his wife and his solitude due to the physical distance from his family. It is unclear whether his wife Louise, better known as Ninon, who at the time suffered from an eye disease, was actively avoiding contact with him, but the letters imply that Massenet was unable to communicate with her over extended periods of time. - The earliest of four letters from January to April 1890 must have been written in Paris and are mostly of a practical nature. Massenet inquires whether his daughter wants to go to the Ball of the Paris Opera on 1 February and later informs her that he has cancelled his reservation for a box because Sibyl Sanderson had fallen ill. In a letter datable to March, Massenet inquires whether his son-in-law has winter clothes for his hairdresser. On 4 April 1890, he expresses his gratitude and affection towards his daughter without mentioning the context: "I am very touched by your attentiveness - I'm lucky to know that I'm loved and respected. I send you all my warmest thanks and to both of you my affections", signing with "papa" along with his signature. - On 4 August 1890 Massenet wrote Juliette from Vevey, announcing the completion of his opera "Le Mage", particularly the orchestration of the first act. Alluding to Sibyl Sanderson, who was supposed to sing the lead in a "Manon" reprise, Massenet writes: "The ladies hold your memory very dear and 'Manon' is very amiable but very spoiled - The true 'Manon' has already worked for 3 acts and that is very promising". He closes with his "blissful solitude" and the information that he could not write to his wife as he does not know the address. - Massenet's perception of his solitude takes a turn in Bruxelles. On 24 August, he writes about his warm welcome at La Monnaie, but mostly about his wife: "I am constantly thinking about your mother who suffers with her eyes . this is a constant preoccupation for me because I suppose that she must be sad, not being able really to enjoy her voyage - I wish I received news from morning to evening". On 29 August, he complains about not having received a word from his wife and describes his longing for his family. He wants true peace "because the quiet after the theatre is solitude and that's empty - she is with the family and I am alone in my hotel room". In a more practical vein, Massenet announces the reprise of "Esclarmonde" for 6 September. Two days before the premiere, Massenet again inquires about his wife and the state of her eyes, as he has not received "a single detail in 5 weeks", and he implores his dauther: "write me - I am so alone and so far and so desperate for Paris". He also announces concerts in Ostend and Antwerp following the Brussels premiere. - Well preserved. With occesional stains and collector's notes in pencil.

8vo and oblong 8vo. Together 39 pp. With 10 autograph envelopes. In French. Rare and highly interesting private correspondence with his son-in-law Léon Bessand (11 letters) and his daughter Juliette (2 letters), bearing witness to their family life during a difficult time for Massenet and his wife Ninon. - Excepting the earliest letter dated 20 May 1902, in which Massenet asks his son-in-law for a favour concerning some purchases, the letters tell a continous story revolving around an accident of Ninon Massenet with a prologue from the day before it occurred. On that day, 21 June, Massenet thanks Léon Bessand for news relating to a performance of his opera "Thaïs" and announces that he will come to Paris the following week to take part in the annual competitions of the Paris Conservatory, including the prestigious Prix de Rome. But everything changes within a day, and Massenet writes to his daughter Juliette, who likewise suffered a minor accident: "We hear from Léon about your accident. and we think of you so much! - Your mother is also quite affected herself; an injection had caused her right hand to swell, and a clumsiness in applying a phenic acid compress that was too strong - it is my fault, alas! - burned the swelling and the hand quite badly. She will not be able to use her hand for a month; she needs rigorous antiseptic care. That is why she cannot write to you and tell you herself of her concern for your dear health! - I do not leave her for a second; I am better. not being able to think of myself. - I will not be going to Paris for the competitions of the institute, but I am informing everyone that it is because I am unwell" (transl.). - Until the end of July, Massenet's life would revolve around the care for his wife, Léon Bessand serving as his confidant in Paris. - On 24 June, Massenet asks Bessand for more information about the consequences of Juliette's fall and provides some details concerning the treatment of Ninon's wound. In a postscript, he asks Léon to thank the director of the Paris Opéra, Pedro Gailhard, personally on his behalf for the favourable "notes de l'opéra" on "Thaïs" that were published by several newspapers. He also laments that he has never missed the Prix de Rome competition in 25 years and hopes for a successful revival of "Manon" with the soprano Sibyl Sanderson. This was indeed to happen, as Massenet thanks Léon on 3 July for an article from "Le Temps" on a performance of "Manon", also informing him about Ninon's progress. However, on 6 July, he is less optimistic: "Since the evening before yesterday I have been less calm, and I do not think the recovery is certain yet". In two letters from 8 July 1902, Massenet asks Léon for the address of the architect Joseph-Antoine Bouvard and to collect an advance from the music publisher Henri Heuglin in order to pay the rent for Massenet's Paris apartment. The document in the collection, a loan note for Heuglin, was originally enclosed with this letter. Apparently, Heuglin did not consider this formality necessary, as it remained in Bessand's possession. - 12 July was the "22nd day of suffering and inaction" for Massenet's wife, although he reports that the family doctor assured them "that her wound looks very good". Massenet thanks his son-in-law "for the receipts that arrived in the morning", asserting that "everything is fine thanks to your perfect kindness". - Meanwhile, Juliette Massenet had undertaken a trip to Cologne with their three children, to which her father alludes in this letter, an undated letter, and the second letter to Juliette upon her return, dated 14 July, which is worth quoting in full: "We learned that you were on a trip with all the children. I thought you had left with Olivier alone. We also heard about Olivier's illness, your anguish, the improvement that followed. Here, the condition is still serious. the wound will not heal. and causes your poor mother renewed pain with every cruel bandage. Since June 21st. It will be a month on Monday. As for when your mother will be able to try and use her right hand. we cannot tell yet". In a curious postscript, Massenet tells his daughter to keep all of this private: "Do not tell anyone about our misfortunes". - The final letter in the collection from 30 July appears to indicate Ninon's recovery; at least Massenet does not mention her wound again, but thanks Léon for a long-awaited visit to Égreville that gave "great pleasure" to his wife. In a postscript, he asks Léon for a final favour of forwarding a letter to Marie Waldeck-Rousseau, as he did not know her Paris address. - Minimal tears and browning.